Programming Strategies of U.S.-Originated Cable Networks in Asian Markets: Descriptive Study Based on the Product Standardization/Adaptation Theory

Total Page:16

File Type:pdf, Size:1020Kb

Programming Strategies of U.S.-Originated Cable Networks in Asian Markets: Descriptive Study Based on the Product Standardization/Adaptation Theory PROGRAMMING STRATEGIES OF U.S.-ORIGINATED CABLE NETWORKS IN ASIAN MARKETS: DESCRIPTIVE STUDY BASED ON THE PRODUCT STANDARDIZATION/ADAPTATION THEORY By GORO OBA A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2007 1 © 2007 Goro Oba 2 To Mitsuko Oba and Marin Oba. 3 ACKNOWLEDGMENTS Whenever I am almost daunted by some difficulties, I always bring to mind my favorite words once spoken by Robert Kennedy: “Only those who dare to fail greatly can ever achieve greatly.” I am still unsure if I have achieved something greatly, as I have just completed a dissertation and my doctoral degree. However, I am sure that I would never have been one step closer to my dream if I had feared failure. It was actually a decision involving many risks for me to study in the United States, but I have embarked on an academic journey for intellectual fulfillment. This dissertation is the culmination of my study from 2001 to the present. I could not have survived the years without the encouragement from the following people who helped me to pursue academic challenges. First of all, I would like to give my sincerest gratitude and appreciation to my supervising committee members at University of Florida. I wish to thank Dr. Sylvia Chan-Olmsted, the chair of the committee and my academic advisor and mentor, for her wisdom, honesty, encouragement, and guidance I always hold valuable. I feel truly blessed to work as an assistant of her and indebt to her in my life. When I give a lecture to my students or conduct research, I often ponder what she is likely to do if she were in my position. I enjoyed talking with Dr. Marilyn Roberts because of her witty remarks and jokes. It should be noted that the original idea of this dissertation initially arose during I took the International Advertising course offered by her. I also appreciate Dr. Juan-Carlos Molleda’s advices, which are based on his rich knowledge of the international public relation arena. I am grateful to Dr. Jinhong Xie for comments and suggestions. Her wealth of knowledge regarding international marketing study was invaluable at all phases of this project. I like the committee very much because it is really an “international” team. I would also like to thank some faculty members at Michigan State University. Dr. Steve Wildman, Dr. Johannes Bauer, Dr. Barry Litman, and Dr. Thomas Baldwin taught me how exciting to research media economics and industries. 4 I also owe a special debt of gratitude to many friends and organizations for their continued support and encouragement. I appreciate my old friends Hiromichi Sakai and Leon Liu, who have extensive business networks, for their support to set up interviews. I would like to thank executives and managers of MTV, Cartoon Network, ESPN, and Discovery Channel, who participated in interviews, for their precious time, data, and comments. My officemates at University of Florida, in particular Changhyun Jin, Al Tritico, and Roxanne Watson, shared with me ideas, information, and laughter. Daphne Landers and Byenghee Chang, advisees of Dr. Chan-Olmsted as well as myself, helped me when I was in trouble with research. I also thank the Japanese Society of Gainesville for regularly having parties to relax. My ten years of experience in Nippon Television Network became the cornerstone for my academic career, and colleagues at the network still give me a boost. The dissertation research was supported by the grant from Hoso Bunka Foundation established by NHK and the research fund of Kyoto Gakuen University. Last but not least, I wish to thank my parents for realizing and understanding the importance of study to me since I was a kid and for being brave enough to set me free to pursue my dreams. I adore the Suzukis, the Shimokawas, and the Hirabayashis for being patient with me and seeing me through tough times. My grandmothers passed away in the year I returned to Japan and the following year. They were obviously sad events, but I was fortune to be able to say last goodbyes to them who always looked forward seeing my growth. Finally, my deepest appreciation goes to my wife Mitsuko for her love and patience. I would never forget that she accepted my dream with an open mind and compassionate heart when I left a television network. Neither my study in the United States nor this dissertation could have been completed without her continuing support and encouragement. One of our best experiences in the United States was the birth of our daughter Marin, who provided a joyful dimension to our lives. Mitsuko and Marin are always a positive motivating force within my life. I have the best family in the world. 5 TABLE OF CONTENTS ACKNOWLEDGMENTS ...............................................................................................................4 LIST OF TABLES .........................................................................................................................12 LIST OF FIGURES .......................................................................................................................13 LIST OF ABBREVIATIONS ........................................................................................................14 ABSTRACT...................................................................................................................................15 CHAPTER 1 INTRODUCTION..................................................................................................................17 Media Globalization and Global Television Networks...........................................................17 Gaps in Current Literature......................................................................................................23 Purpose of the Study...............................................................................................................27 2 LITERATURE REVIEW........................................................................................................35 Theoretical Backgrounds for Product Standardization/Adaptation........................................35 Determinants of the Degree of Product Standardization/Adaptation .....................................41 Product Characteristics....................................................................................................43 Target Market Segment ...................................................................................................44 Country’s Cultural Characteristics ..................................................................................47 Country’s Environmental Characteristics........................................................................50 Economic condition..................................................................................................50 Physical/geographic condition .................................................................................51 Legal environment....................................................................................................52 Infrastructure/supporting sector ...............................................................................53 Industry Competition.......................................................................................................54 Brand and Country of Origin...........................................................................................55 Firm Characteristics.........................................................................................................59 Philosophy/orientation .............................................................................................59 Resource...................................................................................................................62 Degree of centralization/decentralization.................................................................64 Market entry mode ...................................................................................................65 3 APPLICATION OF INTERNATIONAL MARKETING THEORIES ..................................74 Standardization/Adaptation of Television Programming........................................................74 Determinants of the Degree of Programming Standardization/Adaptation............................75 Product Characteristics....................................................................................................75 Target Market Segment ...................................................................................................79 Country’s Cultural Characteristics ..................................................................................81 Country’s Environmental Characteristics........................................................................84 Economic condition..................................................................................................84 Physical/geographic condition .................................................................................86 6 Legal environment....................................................................................................87 Infrastructure/supporting sector ...............................................................................89 Industry Competition.......................................................................................................93 Brand and Country of Origin...........................................................................................95
Recommended publications
  • 2012 Annual Report
    2012 CINEPLEX INC. 2012 ANNUAL REPORT CONTENTS PAGE Letter to shareholders…………………………………………………………………………………………….. 2 FINANCIAL REVIEW MANAGEMENT’S DISCUSSION AND ANALYSIS…………………………………………………………… 14 Overview of Cineplex……………………………………………………………………………………………… 15 Theatre exhibition industry overview……………………………………………………………………………... 20 Business strategy………………………………………………………………………………………………….. 21 Overview of operations……………………………………………………………………………………………. 26 Results of operations……………………………………………………………………………………………… 29 Balance sheets…………………………………………………………………………………………………….. 43 Liquidity and capital resources…………………………………………………………………………………… 45 Adjusted free cash flow and dividends…………………………………………………………………………... 50 Shares outstanding………………………………………………………………………………………………... 51 1Seasonality and quarterly results………………………………………………………………………………… 54 Related party transactions………………………………………………………………………………………… 55 Significant accounting judgments and estimation uncertainties………………………………………………. 56 Accounting policies…………………………………………………………………………………………………. 57 Risk management………………………………………………………………………………………………….. 59 Controls and procedures………………………………………………………………………………………….. 63 Outlook………………………………………………………………………………………………………………. 63 Non-GAAP measures……………………………………………………………………………………………… 66 FINANCIAL STATEMENTS AND NOTES Management’s report to shareholders…………………………………………………………………………… 70 Independent auditor’s report……………………………………………………………………………………… 71 Consolidated balance sheets…………………………………………………………………………………….. 73 Consolidated statements of operations…………………………………………………………………………
    [Show full text]
  • Media Ownership Chart
    In 1983, 50 corporations controlled the vast majority of all news media in the U.S. At the time, Ben Bagdikian was called "alarmist" for pointing this out in his book, The Media Monopoly . In his 4th edition, published in 1992, he wrote "in the U.S., fewer than two dozen of these extraordinary creatures own and operate 90% of the mass media" -- controlling almost all of America's newspapers, magazines, TV and radio stations, books, records, movies, videos, wire services and photo agencies. He predicted then that eventually this number would fall to about half a dozen companies. This was greeted with skepticism at the time. When the 6th edition of The Media Monopoly was published in 2000, the number had fallen to six. Since then, there have been more mergers and the scope has expanded to include new media like the Internet market. More than 1 in 4 Internet users in the U.S. now log in with AOL Time-Warner, the world's largest media corporation. In 2004, Bagdikian's revised and expanded book, The New Media Monopoly , shows that only 5 huge corporations -- Time Warner, Disney, Murdoch's News Corporation, Bertelsmann of Germany, and Viacom (formerly CBS) -- now control most of the media industry in the U.S. General Electric's NBC is a close sixth. Who Controls the Media? Parent General Electric Time Warner The Walt Viacom News Company Disney Co. Corporation $100.5 billion $26.8 billion $18.9 billion 1998 revenues 1998 revenues $23 billion 1998 revenues $13 billion 1998 revenues 1998 revenues Background GE/NBC's ranks No.
    [Show full text]
  • Magisterarbeit
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES MAGISTERARBEIT Titel der Magisterarbeit „Es war einmal MTV. Vom Musiksender zum Lifestylesender. Eine Programmanalyse von MTV Germany im Jahr 2009.“ Verfasserin Sandra Kuni, Bakk. phil. angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, Februar 2010 Studienkennzahl lt. Studienblatt: A 066 841 Studienichtung lt. Studienblatt: Publizistik und Kommunikationswissenschaft Betreuerin / Betreuer: Ao. Univ. Prof. Dr. Friedrich Hausjell DANKSAGUNG Die Fertigstellung der Magisterarbeit bedeutet das Ende eines Lebensabschnitts und wäre ohne die Hilfe einiger Personen nicht so leicht möglich gewesen. Zu Beginn möchte ich Prof. Dr. Fritz Hausjell für seine kompetente Betreuung und die interessanten und vielseitigen Gespräche über mein Thema danken. Großer Dank gilt Dr. Axel Schmidt, der sich die Zeit genommen hat, meine Fragen zu bearbeiten und ein informatives Experteninterview per Telefon zu führen. Besonders möchte ich auch meinem Freund Lukas danken, der mir bei allen formalen und computertechnischen Problemen geholfen hat, die ich alleine nicht geschafft hätte. Meine Tante Birgit stand mir immer mit Rat und Tat zur Seite, ihr möchte ich für das Korrekturlesen meiner Arbeit und ihre Verbesserungsvorschläge danken. Zum Schluss danke ich noch meinen Eltern und all meinen guten Freunden für ihr offenes Ohr und ihre Unterstützung. Danke Vicky, Kathi, Pia, Meli und Alex! EIDESSTATTLICHE ERKLÄRUNG Ich habe diese Magisterarbeit selbständig verfasst, alle meine Quellen und Hilfsmittel angegeben und keine unerlaubten Hilfen eingesetzt. Diese Arbeit wurde bisher in keiner Form als Prüfungsarbeit vorgelegt. Ort und Datum Sandra Kuni INHALTSVERZEICHNIS I. EINLEITUNG .....................................................................................................1 I.1. Auswahl der Thematik................................................................................................ 1 I.2.
    [Show full text]
  • British Sky Broadcasting Group Plc Annual Report 2009 U07039 1010 P1-2:BSKYB 7/8/09 22:08 Page 1 Bleed: 2.647 Mm Scale: 100%
    British Sky Broadcasting Group plc Annual Report 2009 U07039 1010 p1-2:BSKYB 7/8/09 22:08 Page 1 Bleed: 2.647mm Scale: 100% Table of contents Chairman’s statement 3 Directors’ report – review of the business Chief Executive Officer’s statement 4 Our performance 6 The business, its objectives and its strategy 8 Corporate responsibility 23 People 25 Principal risks and uncertainties 27 Government regulation 30 Directors’ report – financial review Introduction 39 Financial and operating review 40 Property 49 Directors’ report – governance Board of Directors and senior management 50 Corporate governance report 52 Report on Directors’ remuneration 58 Other governance and statutory disclosures 67 Consolidated financial statements Statement of Directors’ responsibility 69 Auditors’ report 70 Consolidated financial statements 71 Group financial record 119 Shareholder information 121 Glossary of terms 130 Form 20-F cross reference guide 132 This constitutes the Annual Report of British Sky Broadcasting Group plc (the ‘‘Company’’) in accordance with International Financial Reporting Standards (‘‘IFRS’’) and with those parts of the Companies Act 2006 applicable to companies reporting under IFRS and is dated 29 July 2009. This document also contains information set out within the Company’s Annual Report to be filed on Form 20-F in accordance with the requirements of the United States (“US”) Securities and Exchange Commission (the “SEC”). However, this information may be updated or supplemented at the time of filing of that document with the SEC or later amended if necessary. This Annual Report makes references to various Company websites. The information on our websites shall not be deemed to be part of, or incorporated by reference into, this Annual Report.
    [Show full text]
  • De La Producci\363N Al Consumo De La Animaci\363N Como
    De la producción al consumo de la animación como fenómeno cultural: Una breve historia crítica Autor: Xavier Fuster Burguera Director: José Igor Prieto Arranz Trabajo de fin de máster Máster en lenguas y literaturas modernas 2010/2011 Universitat de les Illes Balears Índice Capítulo 1. Introducción 2 Capítulo 2. Estados Unidos: centro hegemónico de la animación occidental 11 2.1 Introducción 11 2.2 La semilla de un nuevo género artístico popular: 12 la animación decimonónica 2.3 El Magic Kingdom de Walt Disney 20 2.4 Warner Bros. y su séquito 28 2.5 Y Europa por extensión 35 Capítulo 3. El papel del arte popular japonés en la animación occidental 38 3.1 Introducción 38 3.2 Imágenes cómicas en Japón 40 3.3 La animación de las imágenes cómicas 47 3.4 De occidente a oriente y viceversa 55 3.4.1 La exportación de las imágenes cómicas animadas 59 Capítulo 4. La animación en la época de la televisión 66 4.1 Introducción 66 4.2 De la gran pantalla al televisor 67 4.3 La televisión, el entretenimiento de masas 72 4.4 Japón y su aventura por Europa 84 Capítulo 5. Nuevas perspectivas globales del consumo de la animación 89 5.1 Introducción 89 5.2 El canon de consumo de animación de Disney 90 5.3 Los adultos: consumidores marginales de la animación 97 5.4 Subculturas de consumo de animación 103 Conclusión. 111 Anexo. 116 Cronología 116 Referencias. 129 De la producción al consumo de la animación como fenómeno cultural: Una breve historia crítica Capítulo 1.
    [Show full text]
  • Jae Blaze CREATIVE DIRECTOR/CHOREOGRAPHER
    Jae Blaze CREATIVE DIRECTOR/CHOREOGRAPHER ____________________________________________________________________________________________________ AWARDS/NOMINATIONS MTV Hip Hop Video - Black Eyed Peas “My Humps” MTV Best New Artist in a Vide - Sean Paul “Get Busy” (Nominee) TELEVISION/FILM King Of The Dancehall (Creative Director) Dir. Nick Cannon American Girl: Saige Paints The Sky Dir. Vince Marcello/Martin Chase Prod. American Girl: Alberta Dir. Vince Marcello Sparkle (Co-Chor.) Dir. Salim Akil En Vogue: An En Vogue Christmas Dir. Brian K. Roberts/Lifetime Tonight SHow w Gwen Stefani (Co-Chor.) NBC The X Factor (Associate Chor.) FOX Cheetah Girls 3: One World (Co-Chor.) Dir. Paul Hoen/Disney Channel Make It Happen (Co-Chor.) Dir. Darren Grant New York Minute Dir. D. Gorgon American Music Awards w/ Fergie (Artistic Director) ABC/Dick Clark Productions Divas Celebrate Soul (Co-Chor.) VH1 So You Think You Can Dance Canada Season 1-4 CTV Teen Choice Awards w/ Will.I.Am FOX American Idol w/ Jordin Sparks FOX American Idol w/ Will.I.Am FOX Superbowl XLV Halftime Show w/ Black Eyed Peas (Co-Chor.) FOX/NFL Soul Train Awards BET Idol Gives Back w/ Black Eyed Peas (Co-Chor.) FOX Grammy Awards w/ Black Eyed Peas (Co-Chor.) CBS / AEG Ehrlich Ventures NFL Thanksgiving Motown Tribute (Co-Chor.) CBS/NFL American Music Awards w/ Black Eyed Peas (Co-Chor.) ABC/Dick Clark Productions BET Hip Hop Awards (Co-Chor.) BET NFL Kickoff Concert w/ Black Eyed Peas (Co-Chor.) NFL Oprah w/ Black Eyed Peas (Co-Chor.) ABC/Harpo Teen Choice Awards w/ Black Eyed Peas
    [Show full text]
  • Teachers Guide
    Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation.
    [Show full text]
  • Viacom International Media Networks To
    VIACOMINTERNATIONAL MEDIA NETWORKS TO LAUNCHFIRST-EVERPARAMOUNT CHANNEL IN ASIA THROUGH A STRATEGICCOLLABORATION WITH CTH, THE PARAMOUNT CHANNEL BECOMES THE PREMIER HOLLYWOODMOVIE CHANNEL WITH LINEAR OTT AND LINEAR TV EVERYWHERE STREAMING RIGHTS IN THAILAND SINGAPORE/ THAILAND,15 FEBRUARY 2016 - Viacom International Media Networks (VIMN)today announced the launch of one of its global anchor brands PARAMOUNT CHANNEL in Asia. Building onthe network’s international success in Spain, France, Russia, Romania, Hungary,Latin America and Italy (to be launched in February 2016), VIMN has secured itsfirst distribution deal in Asia with CTH,a major Pay- TV operator in Thailand. The high-definition 24-hour movie channelis set to launch first in Thailand on CTH’s traditional satellite andover-the-top (OTT) streaming service in May, giving it linear OTT and linear TVEverywhere streaming rights in Thailand. The agreement also includes a newlicensing deal for MTV Thailand to be officially moved over to CTH, which waseffective from 15 January 2016. "The introduction of ParamountChannel in Asia is a key, strategic step in deepening our presence both in Thailand and in Asia, while expanding our portfolio of adult-targeted brands. We’re thrilled CTH has come on board for thishighly anticipated launch in Asia and look forward to seeing Paramount Channelexpand further in the coming months,” said Mark Whitehead, Executive Vice President and Managing Director for VIMN Asia. “We’re proud to be the first tooffer Paramount Channel in Asia and to make it the first 24-hour movie channel availableto our subscribers across multiple screens. We continue to be single-minded ingiving our subscribers the best viewing experience and high quality content,”said Amarit Sukhavanij, CEO of CTH.
    [Show full text]
  • MTV, Media Dan Format Global Kajian Tentang MTV Dan Bangunan Kultur Global
    MTV, Media dan Format Global Kajian tentang MTV dan Bangunan Kultur Global Oleh : Liza Diniarizky Putri Fakultas Ilmu Sosial dan Ilmu Politik Universitas Serang Raya Jl. Raya Cilegon, Drangong. Serang – Banten [email protected] ABSTRAK Dampak dari media televisi dan teknologi di dunia membangun sebuah global village, dimana perbedaan waktu dan ruang terkikis akibat sifat instant dari media tersebut. Televisi telah berhasil membuat apa yang terjadi di satu sudut bumi mampu disaksikan di sudut bumi lain dalam waktu yang bersamaan. Percepatan komunikasi seperti ini tentu saja sangat membantu proses globalisasi budaya. MTV adalah salah satu media global paling terkenal dan berhasil menyebarkan budaya. Tulisan ini mencoba mengkaji fenomena budaya global yang dampak dari MTV. Penelitian ini menggunakan metode deskriptif kualitatif. Hasil dari penelitian ini, MTV telah muncul sebagai satu media global, dengan lebih dari 252 juta rumah tangga di 80 negara mengaksesnya. Dalam perjalanannya selama 20 tahun ini, MTV memang telah mengubah budaya dunia. Trend yang berkembang sekarang seperti tidak dapat terlepas dari pengaruh yang ditularkan MTV. Kata kunci: media global, globalisasi I. PENDAHULUAN Kecepatan komunikasi melalui media instant dari media modern dan elektronik menggemakan kecepatan rasa. komunikasi dunia tersebut. Dalam visi ini, Melalui media seperti televisi dan internet, manusia mampu bergabung dalam campuran kita terkait bersama bumi dan ini membuat tempat, kejadian, dan lokasi. Televisi telah kita mampu untuk berhubungan dengan orang- berhasil membuat apa yang terjadi di satu sudut orang dari sisi dunia yang lain secepat kita bumi mampu disaksikan di sudut bumi lain bertemu dan berbicara dengan orang-orang di dalam waktu yang bersamaan. Percepatan sekitar kita.
    [Show full text]
  • Taipei Biennial 2020 2020.11.21–2021.3.14
    YOU AND I DON’T LIVE ON THE SAME PLANET Taipei Biennial 2020 2020.11.21–2021.3.14 Curators: Bruno Latour & Martin Guinard with Eva Lin (public programs) Planet Globalization Planet Escape Gaia Planet Security Encounter-Zone Planet Encounter-Zone Terrestrial Critical Zone Alternative Alternative Gravity Contents Floor Plan p.6 Preface p.14 Introduction p.16 Prelude p.18 Planet Globalization p.22 Planet Security p.44 Planet Escape p.52 Planet Terrestrial p.56 Approaching the Terrestrial: Critical Zone p.58 Approaching the Terrestrial: Gaia p.84 New Diplomatic Encounters p.108 Public Programs p.110 Planet with Alternative Gravity p.118 Moving Earths p.130 Shoreline Movements p.136 Symposium p.144 Mobile App Guide | TFAM APP Taipei Biennial 2020 References p.146 www.taipeibiennial.org/2020 Acknowledgements p.149 F1 Hall Prelude p.20 1 Fernando PALMA RODRÍGUEZ 9 Second Floor 6 10 8 Planet Globalization 5 7 11 12 p.24 2 Mika ROTTENBERG 4 p.26 3 Jean KATAMBAYI MUKENDI 3 13 p.28 4 HUANG Hai-Hsin p.30 5 Franck LEIBOVICI & Julien SEROUSSI 2 p.32 6 Marianne MORILD 14 p.34 7 MILLIØNS (Zeina KOREITEM & John MAY) with Kiel MOE and 15 Peter OSBORNE p.36 8 Femke HERREGRAVEN p.38 9 Antonio VEGA MACOTELA 1 p.40 10 Hicham BERRADA p.42 11 CUI Jie Planet Security p.46 12 CHIN Cheng-Te, LEE Chia-Hung, LIN Chuan-Kai, and CHEN Yi-Chun p.48 13 Jonas STAAL p.50 14 James T. HONG Planet Escape p.54 15 Femke HERREGRAVEN First Floor Wang Da Hong 46 House Theater Planet Terrestrial Approaching the Terrestrial: Critical Zone South Entrance p.60 16a, b CHANG Yung-Ta 45
    [Show full text]
  • Nomination Press Release
    Brian Boyle, Supervising Producer Outstanding Voice-Over Nahnatchka Khan, Supervising Producer Performance Kara Vallow, Producer American Masters • Jerome Robbins: Diana Ritchey, Animation Producer Something To Dance About • PBS • Caleb Meurer, Director Thirteen/WNET American Masters Ron Hughart, Supervising Director Ron Rifkin as Narrator Anthony Lioi, Supervising Director Family Guy • I Dream of Jesus • FOX • Fox Mike Mayfield, Assistant Director/Timer Television Animation Seth MacFarlane as Peter Griffin Robot Chicken • Robot Chicken: Star Wars Episode II • Cartoon Network • Robot Chicken • Robot Chicken: Star Wars ShadowMachine Episode II • Cartoon Network • Seth Green, Executive Producer/Written ShadowMachine by/Directed by Seth Green as Robot Chicken Nerd, Bob Matthew Senreich, Executive Producer/Written by Goldstein, Ponda Baba, Anakin Skywalker, Keith Crofford, Executive Producer Imperial Officer Mike Lazzo, Executive Producer The Simpsons • Eeny Teeny Maya, Moe • Alex Bulkley, Producer FOX • Gracie Films in Association with 20th Corey Campodonico, Producer Century Fox Television Hank Azaria as Moe Syzlak Ollie Green, Producer Douglas Goldstein, Head Writer The Simpsons • The Burns And The Bees • Tom Root, Head Writer FOX • Gracie Films in Association with 20th Hugh Davidson, Written by Century Fox Television Harry Shearer as Mr. Burns, Smithers, Kent Mike Fasolo, Written by Brockman, Lenny Breckin Meyer, Written by Dan Milano, Written by The Simpsons • Father Knows Worst • FOX • Gracie Films in Association with 20th Kevin Shinick,
    [Show full text]
  • James E. Martin Mallory, VS, 2011, Lithostratigraphy and Vertebrate Paleontology of the Late Miocene
    BIOGRAPHICAL SKETCH NAME POSITION TITLE James E. Martin Professor/Curator Emeritus EDUCATION YEAR INSTITUTION AND LOCATION DEGREE CONFERRED FIELD OF STUDY SD School of Mines and Technology B.S. 1971 Geology SD School of Mines and Technology M.S. 1973 Geology/Paleontology University of Washington, Seattle Ph.D. 1979 Geology RESEARCH INTERESTS STRATIGRAPHY, BIOSTRATIGRAPHY, PALEONTOLOGY RESEARCH AND/OR PROFESSIONAL EXPERIENCE Professional Experience: 2007- Adjunct Professor, Department of Geology, University of Louisiana, Lafayette 1999-2011 Consultant; Bureau of Land Management: Supervised GPS surveys and collection of Pleistocene and Miocene fossils 1979-2010 Executive Curator, Museum of Geology; Professor of Geology and Geological Engineering 2005 Consultant; SD Geological Survey: Managed Paleogene-Neogene stratigraphic studies in SD 2001-2002 Consultant; US Corps of Engineers: Managed land evaluation for natural resources 2000-2001 Consultant; Parsons Engineering Inc.: Managed paleontologic survey of former Badlands Bombing Range 1998-2004 Consultant; SD Geological Survey: Managed production of geological map for South Dakota 1994-1997 Consultant; John Day Fossil Beds National Monument: Guided the paleontological surveys Professional Accreditation Certified Professional Geologist, American Institute of Professional Geologists, Certification Number 7367 Wyoming Professional Geologist, Wyoming Board of Professional Geologists, PG-357 Licensed Geologist, State of Washington, Certification/License Number 1368 Honors and Awards: Royal Geographical Society of London/Discovery Channel Europe International Discovery of the Year (1999); Elected President, SD Academy of Science, 1989-1990; Invited Press Conference, National Science Foundation, National Press Club, 2004; Distinguished Alumnus, South Dakota School of Mines and Technology, 2004; Invited Press Conference, National Science Foundation, National Press Club, 2006; Inducted into South Dakota Hall of Fame, 2008; James E.
    [Show full text]